As breakneck as the best night out, as wild as you wish you’d been, as tender as a bruise: Lauren Mooney reviews a musical about teenage rebellion.
Bored by Hiddlesbum? Sally Hales does some manwatching at the Royal Court.
Drinking alone with Google Translate: Rosemary Waugh reviews part of the Sovremennik Theatre’s short season in London.
Disrobing the myth: Rosemary Waugh reviews Yaël Farber’s retelling of the story of Salomé.
A tenacious celebration of life: Brendan Macdonald watches all eight hours of Marianne Elliott’s much-hyped revival of Tony Kushner’s two-part gay fantasia on national themes.
The parallels with the contemporary world are frighteningly obvious in the Donmar’s production of Bertolt Brecht’s political satire.
Spectacular skill with nipple tassles: Sally Hales reviews Fancy Chance’s eclectic solo show in the heart of Soho.
BANG! and Whaam! Rosemary Waugh reviews the opening production in the Globe’s Summer of Love.
What I’m suppose to think vs What I actually think: Fergus Morgan reviews the world premiere of Ivo van Hove’s Obsession.
It’s just one interpretation: Holly Williams on Imogen Knight’s “sensuously rich” production of Simon Stephens’ new play.
Cognitive dissonance: Emma Smith reviews Katie Bonna’s one-woman show about lying.
Ka Bradley reviews the Hong Kong Dance Company’s underwhelming staging of an ancient folktale.
Eleanor Turney gets into the spirit of things with a shit-faced review of Shit-faced Shakespeare.
“Once you are real, you can never be ugly except to those who don’t understand.” B. L. Sherrington reviews the Unicorn Theatre’s staging of The Velveteen Rabbit.
A much more exciting party: Holly O’Mahony swims in the undercurrents of Bill Rosenfield’s transferred two-hander.